A Quote by Michael Chiklis
I mean, in terms of comfort, it was horrible, but we knew the sequence was going to be good. That sort of drives you forward when you know what you're working on is going to be fun. You'll go through all manner of discomfort to get the shot.
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When you go through a tunnel - you're going on a train - you go through a tunnel, the tunnel is dark, but you're still going forward. Just remember that. But if you're not going to get up on stage for one night because you're discouraged or something, then the train is going to stop. Everytime you get up on stage, if it's a long tunnel, it's going to take a lot of times of going on stage before things get bright again. You keep going on stage, you go forward. EVERY night you go on stage.
Yeah, it was horrible! I mean really horrible. I felt incredibly awkward. It was not something I was [looking forward to]. I don't know, but it looked good. We somehow managed to make it look realistic. I was proud of myself that I managed to power through and be professional.
Don't get me wrong, it definitely ain't the Democratic Party either. They're so bad, I mean I'm actually starting to believe that John Kerry was just token resistance, that he literally was down with George W.Bush. It was just such a horrible, horrible, horrible thing to see, that campaign. So, you know, I don't know what's going on.
Those are the ones you look forward to: going against a great, talented player, someone who's going to be in this league for a long time, who you're going to be seeing for a long time. Get a chance to go out, compete, and just have fun. Those are the fun match-ups.
I badly wanted to play Dr. Aziz but I knew I wasn't going to get it. I didn't go to be interviewed until I finally was forced to by the director I was working with in Calcutta. I thought, they aren't going to give me that part. I didn't want to go there and be told I wasn't good enough, or that I didn't suit the part.
I think when I came into the league, I had to find something that would keep me around. I knew I wasn't going to get the ball a lot, being the younger guy on my team. I knew I wasn't going to play a lot unless I made some sort of impact on the floor. I wasn't the best shot blocker, so I said, 'Let's be the best rebounder the league has ever seen.'
That movie [War for the Planet of the Apes] is incredibly engaging; it's what drives the emotion of all these films. So tonight, we're going to show a long sequence that's actually going to be.
I've experienced every aspect of pitching. I know the reality of what these guys are going through. You can be going good, and the game is going to humble you. But the challenge is how to get through the difficult times.
I was a barfly, so going to work and acting and rehearsing and then going and sitting in a bar and drinking and then going home was sort of my lifestyle. And there was none of that out here in the '70s when I was lucky enough to get movies, and nobody else that I knew was working in movies at that point. I didn't really have a lot of movie friends.
I knew that's where I was going. I knew we were going to Italy. You couldn't make this movie in America at this price. I knew it was going to be big. I knew there was going to be a ship involved and that there was going to be a set as big as the ship. I thought, well, here we go. But I knew that was where he was headed. He had been going this way for some time. All directors, once they have some success, they want to spend a whole heck of a lot of money. (Something else can't hear.)
Salvation is worth working for. It is worth a man's going round the world on his hands and knees, climbing its mountains, crossing its valleys, swimming its rivers, going through all manner of hardship in order to attain it. But we do not get it in that way. It is to him who believes.
I knew all the time I was going to get through the war. It was completely irrational, a silly idea, but I was not going to lie down and get myself killed. I was going to get out of it.
People have so many expectations when they go out on stage, so many wishes about what their night is going to be: if they're going to meet that person, have a fun time with their friends, have a good high, hear good music. People get drunk and turn into themselves in a way, and they go to experience some kind of emotion. But it's not always about fun. There's a destructive side to it. But I'm more into the empowerment of going out, because it's always been the place where I could be myself and get inspired. Even if I'm sad, dancing is a way to let stuff out.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.
If there's anything I can't stand, it's the cliche of the female handler who's always talking through the radio with your player, telling you where to go and what to do with a sexy voice. It's such a horrible, horrible cliche. You just get so tired of it. It's like, is this all she's ever going to be?
Don't think in terms of comfort; think in terms of freedom. Don't think in terms of safety, think in terms of being more alive. And the only way to be more alive is to live dangerously, is to risk, is to go on an adventure. And the greatest adventure is not going to the moon - the greatest adventure is going to your own innermost core.
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